horizontal line

‘There is no greater music’, says Hewitt in her note on re-recording the Bach Partitas. Her first recording for Hyperion dates from over 20 years ago. For Hewitt, Bach’s music is a never-ending well: her recent performance of the Goldberg Variations in Manchester proved her readings become ever deeper.

Now, Hewitt is unafraid to allow more space in the Partitas. The Sarabande of No 1 seeks the eternal while No 2 has a different profundity, housed in C minor. The Sixth is the summit of both Bach’s Partitas and Hewitt’s readings, Bach soliloquising (perhaps, as Hewitt suggests, in conversation with his god).

Hewitt’s Fazioli is perfectly calibrated. All the core traits of Hewitt’s Bach are here: clarity, focus, devotion.

COLIN CLARKE Read the full review on Agora Classica


   Read full review   


To continue reading, please upgrade to a premium account. You will have immediate full access.



Read more classical music reviews online here:



Piano International, 2019 - ©Rhinegold Publishing